Methode tres Facile et fort Necessaire, pour bien Dancer. Montrer a la Jeunesse de l'un & l'autre Sexe la maniere de Bien Dancer; Fort utile aux Maitres d'une Capacite mediocre, de bons Principes, & faire connaitre aux Parens memes, si leurs Enfans sont bien enseignez. Composee par le Sr. C. Sol, Maitre a Dancer etabli a la Haye (La Haye: Imprime aux depends de l'Auteur, M.DCC.XXV / 1725)

Dance manual/reference by Sr. C. SOL, Maitre a Dancer etabli a la Haye (fl. 1720s The Hague; French-surnamed Netherlandish dancing-master active at the court-city of The Hague, Republic of the United Provinces). Printed at The Hague (La Haye), 'Imprime aux depends de l'Auteur' (self-published at the author's expense), M.DCC.XXV (1725). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1725-Sol-Methode_(Arc).txt (95KB OCR; University Microfilms International Ann Arbor/London reprint of the York University Library copy; archive.org-sourced digitization, French 18c print with typical long-s OCR noise). STRUCTURE: Avertissement + Epistre to the Readers (the Peres et Meres of the Jeunesse) + Preface + PREMIERE PARTIE (Articles I-VI) + SECONDE PARTIE on the Menuet-dans-les-Bals etiquette. Article I (Premiers Principes): how a Dancing-Master should seat a student opposite himself, clasp both hands, align the four heels together, work plier/relever as the foundational exercise; 5 Positions (1ere a 5eme, same Malpied 1770 sequence pre-figured 45 years earlier); 'on doit toujours avoir les jambes fermes & les genoux bien tendus'. Article II (Des Reverences): Reverence en entrant dans une Chambre (first step then glide to 3rd position, bow from the waist + head); Reverence en avant (progression-bow); Reverence de cote (side-bow, right + left); Reverence en passant (passing-bow); 'etiquette-civile' theoretical grounding — how to bow to 'les Grands' vs 'les Petits'. Article III (Des Pas de Menuet): four menuet-step variants matching Rameau 1725 Maitre cycle — demi-Coupe + Coupe + temps de Courante + Pas de Courante; includes the 'Jettez en avant / en arriere' warning about distinguishing Pas battus. Article IV (Pas de Bourrees et Fleurets): extensive treatment of Pas de Bouree en avant / arriere / emboete / ouvert / saute; the Fleuret (4-tems variant) and 5-tems Fleuret (with jetté finish); Fleurets Ballonnes de cote dessus/dessous. Article V (Pas de Rigaudon et Ballonnes): Pas de Rigaudon in place and turning; Ballonnes en avant / arriere / de cote / en tournant. Article VI (Des Chasses, Pas de Chaconne, Pirouettes, Balottez): Chasse en avant / arriere / cote; Pirouettes (tendues, par-dessus, par-dessous, en dedans, en dehors); Pas de Chaconne in triple-time; Pas Balottez (jetez en avant + arriere alternating, with one foot chasing the other). Concluding pedagogical admonitions to masters on correcting 'trop roide' (too stiff) vs 'trop mou' (too soft) student tendencies. HISTORIC SIGNIFICANCE: the first published NETHERLANDISH / HAGUE-COURT parallel to Rameau's 1725 Paris 'Maitre a Danser' — the same step-vocabulary codified for the Dutch-court ballroom in the same year. Rosetta confirmation that Beauchamp-Feuillet technical vocabulary was a pan-European lingua franca by 1725, with a Dutch-Hague transmission channel distinct from Essex's 1728 English translation and Taubert's 1717 German treatise. Publishes as 'aux depends de l'Auteur' (self-published), indicating the first-rung Netherlandish-court publishing economy of the Late-Baroque. Has_Step_Detail = Partial — step-level narrative prose throughout; no tabular foot-position/CBM/rise-and-fall tables. (1725). Imported from local collection.